Tesoros del Rijksmuseum, 2013
53 plaques of images from the Rijksmuseum

Art history referrals such as masterpieces, artists, painters, musicians and filmmakers are easily recognized in Boris Viskin’s body of work. Each of his artworks operates under specific strategies and aims, such as quotes, paraphrases, and visual exegesis which confer new meanings. It is also usual to find explicit homages that appropriate the formal vocabulary of the praised subject without becoming an imitation or pastiche; conferring a pathway to parody and remake. The originality of each piece relies on the updated vision of a third-party’s vision within the contemporaneity language of the situation. At the same time, Viskin’s practice alludes to the painting itself from different perspectives such as tradition, genres, expressive mediums and materials, resulting in meta-pictorial artworks.

Boris Viskin is a Mexican artist which body of work holds a deep socio-politic critique which alludes to the situation of violence that reigns in the country. Nevertheless, the artist uses a humorously charged language in each of his remarks.  Although Viskin belongs to a generation of artists that practiced the painting with great professionalism, he decided to break with the format of the painting and overflow the bidirectional surface in order to experiment and look new “post-pictorial” paths. This artist in one of the few authors that works with an openly-conceptual idea of painting, and overflowed painting that breaks the limits and goes in depth into the territory of the hybrid and moves freely within a wide field of formal and discursive possibilities.

Partial installation of the series Tesoros del Rijksmuseum (2013) during its exhibition at the Museo de Arte Moderno in Fall 2016 in Mexico City.

Once integrated the object and the transfigured language, Viskin’s artworks develop emotiveness and a call for contemplation. The dominant tone in Tesoros del Rijksmuseum (2013) is the humor, which usually goes along with a feeling of complicity within each title. One of the most notorious features in this series is the formal characteristic in each of the framed art pieces. Every single one holds a unique compositional structure with a recurrent tendency for collage and relief though the use of mixed techniques and a glimpse of constructivism.

The series Tesoros del Rijksmuseum (2013) consists of 53 different pieces destined to a new imaginary museum. Impossible to describe each one of them, the small format artworks are a series of graphic reproductions that have been intervened with different materials. This installation –belonging to Adrastus Collection– emphasizes the multiple interests of Viskin, which are revealed in a wide thematic diversity: art history, music, cinema and even football.

In Tesoros del Rijksmuseum (2013), the selection of each piece has been carefully articulated in such a multidisciplinary way that it goes beyond the purely plastic appearance: a visual de delight from which the art piece is deeply rooted to art history references, to which the author contrast with his own aesthetic; creating a critical deliberation to the act of creation.

Viskin was raised in Israel (Jerusalem, Tel Aviv and Kibutz Galed), and later he lived three years in Florence, Italy, where he started his artistic trajectory. In 1985, returned to Mexico City and attended the Academia de San Carlos. He has been included in individual exhibitions in Mexico City, Monterrey, Guadalajara, and Zacatecas; as well as internationally in Los Ángeles, U.S.A; Zurich, Switzerland; Buenos Aires, Argentina; Florence, Italy; Jerusalem, Israel; and La Paz, Bolivia.